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So how did “Ravenous” endure this tumult to become such a delectable end-of-the-century treat? In a very beautiful scenario of life imitating art, the film’s cast mutinied against Raja Gosnell, leaving actor Robert Carlyle with a taste for blood along with the strength needed to insist that Fox use his Repeated collaborator Antonia Hen to take over behind the camera.
But no single facet of this movie can account for why it congeals into something more than a cute plan done well. There’s a rare alchemy at work here, a specific magic that sparks when Stephen Warbeck’s rollicking score falls like pillow feathers over the sight of the goateed Ben Affleck stage-fighting on the Globe (“Gentlemen upstage, ladies downstage…”), or when Colin Firth essentially soils himself over Queen Judi Dench, or when Viola declares that she’s discovered “a new world” just a few short days before she’s pressured to depart for another one.
A.’s snuff-film underground anticipates his Hollywood cautionary tale “Mulholland Drive.” Lynch plays with classic noir archetypes — namely, the manipulative femme fatale and her naive prey — throughout the film, bending, twisting, and turning them back onto themselves until the nature of identity and free will themselves are called into question.
“The top of Evangelion” was ultimately not the top of “Evangelion” (not even close), but that’s only because it allowed the sequence and its creator to zoom out and out and out until they could each see themselves starting over. —DE
Catherine Yen's superhero movie unlike any other superhero movie is all about awesome, complex women, including lesbian police officer Renee Montoya and bisexual Harley Quinn. This could be the most entertaining you can have watching superheroes this year.
The ‘90s included many different milestones for cinema, but Potentially none more needed or depressingly overdue than the first widely dispersed feature directed by a Black woman, which arrived in 1991 — almost a hundred years after the advent of cougar porn cinema itself.
‘Dead Boy Detectives’ stars tease queer awakenings, decided on family & the demon shenanigans to come
Skip Ryan Murphy’s 2020 remake for Netflix and go straight on the original from fifty years earlier. The first film adaptation of Mart Crowley’s 1968 Off-Broadway play is notable for being among the list of first American movies to revolve entirely around gay characters.
Maybe you love it with the message — the film became a feminist touchstone, showing two lawless women who fight back against abuse and find freedom in the method.
Spielberg couples that eyesight of America with a sense of pure immersion, especially during the celebrated D-Day landing sequence, where Janusz Kaminski’s desaturated, sometimes handheld camera, brings unparalleled “you happen to be there” immediacy. The way he toggles scale and stakes, from the endless chaos of Omaha Beach, to your relatively small fight at the end to hold a cosplay sex bridge inside of a bombed-out, abandoned French village — nevertheless giving each struggle equivalent emotional weight — is sex photo true directorial mastery.
Al Pacino portrays a neophyte criminal who robs a lender in order to raise money for his lover’s gender-reassignment surgical procedures. According to a true story and nominated for six Oscars (including Best Actor for Pacino),
was praised by critics and received Oscar nominations for its leading ladies Cate Blanchett and Rooney Mara, so it’s not exactly underappreciated. Still, for all the plaudits, this lush, lovely time period lesbian romance doesn’t get the credit rating it deserves for presenting such a lifeless-accurate sexy bombshell slut drilled wildly depiction of the power balance inside of a queer relationship between two women at wildly different stages in life, a theme revisited by Kate Winslet and Saoirse Ronan in 2020’s Ammonite.
Possibly it’s fitting that a road movie — the ultimate road movie — exists in so many different beguiling teen arina d enjoys shaking her shapes iterations, each longer than the next, spliced together from other iterations that together produce a perception of the grand cohesive whole. There is beauty in its meandering quality, its concentration not on the type of finish-of-the-world plotting that would have Gerard Butler foaming in the mouth, but around the ease and comfort of friends, lovers, family, acquaintances, and strangers just hanging out. —ES
Many films and television series before and after “Fargo” — not least the Forex drama encouraged from the film — have mined laughs from the foibles of stupid criminals and/or middle-class mannerisms. But Marge gives the original “Fargo” a humanity that’s grounded in respect to the simple, solid people of the world, the kind whose constancy holds society together amid the chaos of pathological liars, cold-blooded murderers, and squirrely fuck-ups in woodchippers.